Middle EtlSt Resources INFORMATION FOR TEACHING ABOUT TIlE MIDDLE EAST AT TIlE PRECOLLEGIATE LEVEL

December 1994 Vol. 16, No.1 Music of the Arab and Islamic World There's sure no passion in the human soul but finds its food in music. George Lillo 1693-1739

The power of music is manifold; it can soothe the It is really in answer to this question that Islamic troubled spirit, set the feet to dancing, raise courage civilization has delved into the significance of music, in the hearts ofwarriors and bend the will of a nation because, in a deeper sense, music is the sound of the to a tyrant's wishes. The blame for vicious acts of Friend. And the fact that music can come from these violence has been laid to music's influence, while few inanimate objects put together is one of the hymns of worship have inspired men and women to greatest miracles of existence, if one really under­ deeds of love and kindness in the name of their God. stands what music is and how it touches the deepest It has been said that to know the culture of a people layers of the soul. At the same time, of course, music one must know what makes them laugh and what has a more external function. It affects the souls of makes them cry; to understand a people one must men and of women more externally, and affects the listen to their music. In this issue of Middle East socialstructurewhich bringshuman beings together. Resources, the student will be introduced to music of Therefore, from the verybeginning ofIslamic history, Islam and of the Arab world. the question of music and its legal status has been surrounded by an aura of ambiguity, which in fact Islam and Music has been a positive rather than negative aspect of Islamic law. There have been many authorities throughout Islamic history who have considered the "Enchanting Powers: Music in the World's Religions" was the title of the 1993-1994 lecture series at the Harvard fact that there is no specific legal injunction against University Center for the Study ofWorld Religions. Profes­music-and that the ulama, the religious scholars, sor Seyyed Hossein Nasr, University Professor of Islamic have had differences over the centuries as to whether Studies at George Washington University, spoke on Islam music is acceptable, that is, legitimate or licit, or illicit and music. Following is an edited version of excerpts from according to the shari'ah, the Divine Law of Islam­ his lecture. We are grateful to the Center for the Study of to be a bleSSing, for it allows various ways of dealing World Religions for granting us permission to use these with music. One of the causes for this ambiguity is in excerpts. (Arabic words will be in bold thefirst time they are the very usage of the word "music" itself. used and defined in a glossary appended to this article; bold will also be used to highlight significant words.) Professor Nase offers us the learned opinion ofagreat specialist; there When we say "Islam and music" there is an is a wide range of Islamic views on music. ambivalence in this terminology that needs to be elucidated at the very beginning. What do we mean Let me begin with a poem by the greatest trouba­ by music? The word "music" was translated from dour of spirituality in Islam, Jalal aI-Din Rumi, who Greek into Arabic as musiqa and into Persian musiqi c:ombined music, spirituality, religion and poetry. In and for the most part it means the same thing as it a famous poem, he asks in a rhetorical manner: does in English; Brahm's Third Symphony would be called musiqa (musiqi in Persian) or music. But, there Inanimate wood, inanimate string, are things which to the ear would appearmusical and inanimate skin [describing the Persian which would be considered "music" according to the tar, or sitar] continued on page 2 from where cometh, then, this song of the Friend?

PRODUCED BY THE TEACHING REsOURCE CENTER CENTER FOR MIDDLE EASTERN STUDIES • HARVARD UNIVERSITY 1737 CAMBRIDGE STREET· CAMBRIDGE, MA 02138 TEL: 617-495-4078· FAX: 617-496-8584· E-MAIL: [email protected] December 1994 Vol. 16, No.1

Music of the Arab and Islamic World Non-Musiqa and Legitimate (continued from page 1) Now for those which are non-music, non-musiqa, Western, English or French definition of the term first of all is the chanting, Qira'ah, of the sacred text, "music," but which are not called musiqa in Arabic­ whichaccording to the Qur'an itself, shouldbechanted hence the difficulty, the juridical difficulty present with a good voice. There are sciences of chanting of from the very beginning in defining this term. What the Qur'an which go back, according to Islamic tradi­ do I mean by that? For example, anybody who hears tion, to the prophet David, and they are revealed and the chanting of the Qur'an, even if they know not a of sacred origin, one might say. The chanting is word of Arabic, if they have had no acquaintance considered to be not simply humanly created but with Islam whatsoever and hear it for the first time, divinely inspired. they hear "music." But it would never be called musiqa in Arabic; that would be considered blas­ Then there is the adhan, the call to prayer. That phemy. Therefore, the word "music" has been used also is always-again going back to the Prophet, to in a ,more limited sense in the Arabic language and the time of his own life-chanted. There is no part of other Islamic languages than the word "music" in the Islamic world, no different school of law, Sunni English, French, German or other European lan­ or Shi'ite, in which the adhan is simply uttered. It is guages. There are expressions in the Islamic world always chanted, and it is al ways chanted with a good that are music but which would not be called "mu­ voice, with a loud voice. Certainsyllables in theadhan sic." The debate of the ulama has always involved are always elongated according to the Sunna of the precisely those elements which are called ~usic .. As Prophet, with a certain inner effect that they have for those types of expression which are mUSIcal WIth­ upon the soul. outbeing called music, and whichhave to do with the sacred elements ofIslamic revelation, there hasnever Next, there are all those chants called tahlil been any doubt. Noteven the strictestwahhabi 'alim which have to do with the hajj or pilgrimage to in Saudi Arabia would ban the chanting of the adhan. Mecca. They are like caravan songs, which are ex­ In fact, it is always chanted, as anyone who goes to tremely beautiful. Mecca or Medina will confirm. There is no debate over that. This ambiguity in the usage of the term Following this are the various eulogies, usually "music" is one of the great confusions which has called madih in Arabic, but there are also na't and continued over the centuries and which we need to tahmid, and others which deal with the life of the clarify at the present moment. Prophet. All of the religious rites, such as the birth of the Prophet, and the great ceremonies that take place, Having said that, let us nowlook at what kinds of the great songs that are sung-these are always music have been accepted or rejected legally. When chanted. So this is also a religious category which we say legally, we mean according to the Divine Law wouldneverbe called musiqior musiqa; that would be of Islam, the shari'ah. According to the sharz'ah, there a blasphemy. This kind ofchanting would, neverthe­ are categories of human actions. First of all, there is less, in English, be called music. the category of what ishalal, orlegitimate or allowed, from the point of view of the religious law. Second, Finally, we have what used to be traditional in there is the category of things that are mubah, that is the Islamic world: the chanting of poetry. Poetry, as they are allowed, but they are not really looked upon we see in Arabic, for example in the Kitab al-aghani, with great favor. You can perform them, but they are which in fact means "The Book of Songs," deals at not halal; they stand in a lower category. Then there once withArabic poetry and Arabic music. Likewise, are things called makruh, which are really improper of course, many Persian and Turkish poems were or are disapproved of by religion, but which are not usually sung. That is the reason why so much of the totallyforbidden byIslamic Law. Finally, there is that poetry of the Islamic peoples is so musical, and vice which is haram, which is forbidden or illicit. But I versa-why music always has a kind of poetic di­ must say, and I must emphasize that their rulings are mension to it. not unanimous and that there is a difference of view among various religious scholars. Now, all of these types are non-musiqa. All of these are excluded from the category of music in the

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Music (continued) oped, leading finally to the band of the Janissaries, which itself was the origin of the Western military Islamic world, but they are music. And the ulama band as we know it. If we think of the "Turkish have had very little disagreement about the legal March" of Mozart, it is not accidental that it sounds status of this type of "music." like a military march.

Musiqa and Legitimate Musiqa and Controversial

There are a number of categories ofmusic, which Next, we come to the controversial realms of are now called "music" or musiqa in Arabic, which music, legally speaking. And here, various views have to do with certain features of life or with certain havebeen given by the ulama on the level oflaw. First, professions. The Prophet, we know, not only ac­ there are the different kinds of vocal and instrumen­ cepted, but encouraged music at the time of wed­ tal music which are the classical traditions of the dings, a practice thatexistsineverycivilization among Islamic world. Much of the music of the Islamic all peoples. And so wedding music, or music dealing peoples that you hear in the West today belongs to withvarious family celebrations such as the circum­ this category. This would correspond to Weste~ cision of boys, singing a child to sleep, lullabies, and classical music. And there are, as you know, several so forth-the whole category of what might be called major classical traditions of the music of the Islamic music for family occasions-was also accepted people, which all belong to this category. There is throughout the Islamic world. There are very few Andalusian music-not of Spain but of Morocco, people, even the most staunch opponents of music, musiqa-al-Andalus, which originally belonged to who have opposed seriously this category of music. Spain but migrated with the expulsion of the Mus­ lims in 1492 to Morocco. Itstill survives, distinct from And then there is occupational music, that is, a the Eastern Arabic music and had its great center in kind of music that deals with certain professions, the old days in Cairo-somewhat decimated by which, of course, is very important from the point of "Aida,"thenineteenth-century opera,butwhichnev­ weddingeconomic activity to psychological and spiri­ ertheless still survives to some extent. Eastern Arabic tual dimensions of inner life. Anyone who has seen a classicalmusic also had a great deal ofexchange with traditional builder in the Islamic world as he, for classical Persian music. And then there are the other example, is building withbrick, will know that, as the greattraditions, theTurkishclassical tradition,which stones or the bricks are thrown up to him one by one, is in some ways close to Persian but also quite dis­ heissinging. And the person who is throwing up the tinct, and North Indian music, which displays ele­ bricks is also singing. Or, in Syria, where there is a lot ments of Persian music but was also taken by Mus­ of stone architecture, stone chiselers do the same lims from Hindu Indian sources and which became a thing-they sing-a practice which, of course, also very important vehicle for the expression of Sufism existed in medieval Europe and in other traditional for many centuries. societies; it is not unique to Islam. Music is combined witharchitecture in the very actofbuilding. Thesame holds true with harvesting and other traditional ac­ Musiqa and Illegitimate tivities in which music was combined and accepted. There was a great debate over these categories, And, finally, there is the type of music which legally speaking, and there was never total agree­ people do not usually identify with the Islamic world ment. There is one category, finally, over which there ---even though its origins, even as far as the West is was agreement. All music which was out and out concerned, is Islamic-and this is what is known as lascivious, which would arouse the lower passions, military music. All civilizations, of course, from the was banned, according to the ulama. Within the Is­ old Roman empire and the Persian empire,had some lamic world, people knew in general what music this kind of military music. In Islam, as well, this was was-at least before the onslaught of modernism. allowed. In fact, as long as it was not lascivious and There is, therefore, a very wide spectrum as far as sensuous, as long as it helped to increase courage and religious attitudes to music areconcerned, in contrast fortitude in battle, this kind of music was not only to what people think. Ifanyone comesalong and says accepted but encouraged. It is on the basis of that ''I'ma good Muslim; I know music is haram in Islam," early tradition that the later military band was devel- continued on page 4

Middle East Resources • 3 December 1994 Vol. 16, No.1

Music (continued from page 4) GLOSSARY this person does not really know what he or she is (Words in italics are defined elsewhere talking about. The relation of music to Islam is much in the glossary) more complicated. And this ambivalence and ambi­ guityhas played a very important role in thesurvival Adhan Call to prayer made by the muezzin and cultivation of music in the Islamic world. from a minaret, a rooftop or simply thedoor oftheplace ofprayerabout Musiqa and Islam fifteen minutes before the prayer begins (in English): God is most great Many people, especially modernized Muslims, I witness that there is no god but think that the greatmusic ofthe Islamicpeople devel­ Allah oped despite Islam. That is an impossibility; great art I witness that Muhammad is the cannot develop despite the world view within which Messenger of God it is cultivated, although it can always protest against Rise up for prayer something within that world view. The legality of Rise up for salvation music remains and will always remain in a state of God is most great ambiguity, precisely in order to allow various rami­ There is no god but God. fications of this music, without allowing what one could call a kind of social music, which is separate Allah The Arabic word for The God. from religion, separatefrom the remembranceofGod and at the same time keeps people busy; it is that Hajj Pilgrimage toMakkah, an elaborate which Islam has always disdained and has never seriesofritesrequiringseveraldays, developed. There is no music in the Islamic world performed at the Grand Mosque at which does not remind one of God. Even music by Makkah and its environs at a par­ which people dance in weddings has the reminis­ ticular time of the Islamic year. It is cence of the classical modes, which themselves are required ofMuslims at least once if related to songs and are always songs about the they are able bodied and have the yearning of the soul for God. means.

Think about it... Halal That which is lawful according to Islamic law. 1. How does the term musiqa differ in meaning from our word "music"? Why is some musiqa Haram That which is forbidden or illicit legitimate and some not? according to Islamic law.

2. Classify music you are familiar with using Prof. Islam Thereligion revealed to theProphet Nasr's definitions; explain the reason for your Muhammad between 610 and 632 choices. C.E. The word literally means a. Non-musiqa surrender, reconciliation. b. Musiqa and legitimate c. Musiqa and controversial Janisseries An elite military corps within the d. Musiqa and illegitimate Ottoman Empire composed of a levyofyoungboysfrom theBalkans 3. Without looking at the glossary, define the fol­ who were trained to serve the Sul­ lowing words: tan. Adhan Halal Haram Qur'an Makruh Mubah (See Qur'an.) Halal Hajj Sunna Koran

4. Research works by the poet Rumi, especially the Madih Usual term in Arabic for various Mathnavi. eulogies, orpoemsinpraiseofgreat continued on next page

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Glossary (continued) line of the Hebrew, Arabian, and Christian prophets who are recog­ religious personalities particularly nized as such in Islam. When refer­ The Prophet Muhammad .. ring to Muhammad, "Prophet" is al­ ways capitalized. Madina Second holiest city of Islam (Saudi Arabia) and burial place of the Qira'ah Chanting of the sacred text. Prophet. One of the sites visited on the annual pilgrimage, the Hajj. Qur'an The holy book of Islam; the scrip­ tures revealed to Muhammad by Makruh That which is discouraged, disap­ God. proved of, butnot totally forbidden under Islamic law. Rumi Jalal aI-Din ar-Rumi (1207-1273 CE.), a Persianpoet, was one ofthe Makkah Holiest city of Islam (Saudi Arabia) greatest mystics of Islam.His mas­ and site of the Kaaba and annual terpiece Mathnavi is often called pilgrimage. "The Qur'an in Persian."

Mecca (See Makkah, preferred spelling.) Shari'ah Islamic code of law taken from the pages of the Qur'an and theSwmah. Minaret Towerfrom which the muezzin calls the people to prayer. Shi'ite An adherent of the Shi'ah branch of Islam, comprising about 10 percent Mohammed (See Muhammad, preferred spell­ of all Muslims. They split from ing.) the Sunni over the issue of the successorship of the Prophet. Their Mosque A place of prayer and prostrations doctrines coincide for the mostpart for Muslims. with Sunni Islam.

Mubah Allowed under Islamic law, but Sufism The mysticism of Islam. consideredneither praiseworthyor blameworthy. Sunnah Path of the Prophet based on what Muhammed did, said or approved Muezzin One who makes the call to prayer. in his life time; a crucial comple­ ment to the Qur'an. Muhammad The name of the Prophet ofIslam; it The majority branch of Islam. means "thePraised one" or"he who Sunni is glorified" and, traditionally, ev­ ery mention of the Prophet's name Tahlil A pilgrimage chant; uttering of is followed by the Arabic expres­ "there is no god but God." sion "upon him be blessings and peace." Muhammad was born in Tahmid A chant of eulogy; uttering "praise Makkah around 570 CE. and died be to God." 632 CE. Ulama Those recognized as scholars or au­ Muslim An adherent of Islam; literally"one thorities of religion. who has surrendered to God." Wahhabis A sect of Islam dominant in Saudi Prophet A "messenger" or "warner" from Arabia andQatarholding a rigoristt God. In Islam, Muhammad is the interpretationof Islam. seal or last of the prophets in the

Middle East Resources • 5 December 1994 Vol. 16, No.1

Arab Music from the Middle East: Instrumental and Vocal

Arabic musicians were strongly influenced by musi­ people it encompassed, music within its boundaries cal practices from other lands as Islam spread from developed certain common characteristics. One of the Arabian peninsula to Persia, Syria, Turkey and the most important was a decided preference for other areas in the N ear East, then west to NorthAfrica melodic elaboration. To Western ears accustomed to and deep into Spain. Arab musicians often adapted harmony and counterpoint and unused to the ex­ musical traditions from these conquered areas and treme subtlety of tones and variations of Muslim gradually two centers ofmusic evolved: at Istanbul in music, it seems monotonous and repetitious. To the the east and Seville, Spain, in the west. Yet despite the Arab on the other hand, Western music seems need­ vast geographical spread of the Muslim world and lessly complex and overblown. the great ethnic and cultural differences among the Musical Instruments of the Arab World

These are a sampling uf the types of musical instruments commonly played in the Middle East that differ from those used in the west. There are variations in style according to the country.

duff

Dud

nay

rabab

durbekkah

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The oud is one of the most important musical instru­ ment in the Arab world. Its body is made of inlaid wood shaped like a half pear. It has 10-12 strings, which are plucked with a small plectrum, tradition­ ally made of a quill, often an eagle's feather, but now usually of plastic. It gives off a mellow rather than metallic sound. The oud was the grandfather of the guitar, which developed in Spain when the Arab Moors ruled from 700 to 1492 c.E. Its name derived from the Arabic word oud and when combined with the definite article aI, aI-'oud became the English word for its descendant the lute.

The rabab is a string instrument, a type of fiddle. A long tube pierces the sound board which might be a large nut or a wooden frame with skin stretched over it. The rabab may have one or two strings and is often used to accompany a singer. It is a bowed instrument but it is usually played by moving the instrument rather than the bow.

The nay or shepherd's flute is made from an open tube of sugar cane or reed, with 6-7 finger holes. It most closely resembles the human voice.

The duff is a framed drum or tambourine with one head and withpairs ofmetal discs placed inslitsin the frame so that they jingle when the head is struck by the palm.

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Middle East Resources • 7 December 1994 Vol. 16, No. 1

Musical Instruments (continued from page 7)

The qanun is one of the most popular instruments. It belongs to a class of ancient and medieval instru­ ments known as psaltry or zither. The psalms of the Hebrew Bible were probably chanted to the accom­ paniment of the psaltry. It is made of a flat board in theshapeofa trapezoid, on whichstringsare stretched in groups of three. Each note has three strings and most qanunshave 24 groupsor 72 strings. The strings are plucked with the fingers or a plectrum, often two small quills, one on each index finger. The piano is similar to a qanun but uses hammers rather than plectrum to strike the notes.

The durbekkah is a percussion instrument made of animal skin stretched over the wide end of a vase­ shaped or hour-glass shaped drum made of metal, wood or clay pottery. The low pitched sounds are made by striking the center of the drum with the palm; high pitched sounds come from hitting the edge of the skinwith the tips ofthe finger or the finger nails.

The illustrations used in this issue of the Middle East Re­ Theological Seminary of the Episcopal Church (1994). In sources are by Allan Rohan Crite, painter, printer, author, 1986 he was a recipient of the 350th Anniversary Harvard lecturer and historian. A resident of Boston for more than University Medal. Dr. Cri te has authored numerousbooks, seventy years, Dr. Crite graduated from Boston Latin High papers and pamphlets on cultural and religious themes, School in 1929 and from the Museum of Fine Arts in 1939. and his art is represented in major museums throughout In 1968 he received his A.B. from Harvard University the United States. We are grateful to]. Cox Associates for Extension School and has received honorary doctorates permission to include Dr. Cri te' s drawings in our publica­ from Suffolk University (1978), Emmanuel College (1983), tion. the Massachusetts College of Art (1988) and the General

8 • Middle East Resources Vol. 16, No.1 December 1994

Vocal Music in the Arab World Vocal music is of primary importance to the Arab, Rai Music and Tragedy whose love of poetry and verse tended to relegate musical instruments to the secondary role of accom­ Rai music, which combines traditional western panying and establishing the rhythm for vocalists; Algerian melodies with modem rhythms and instru­ instrumentalmusic playedinconcert was a late devel­ ments, developed during the 1920s, when rural mi­ opment. Today, one is able to find recordings of grants, pouring into the growing Algerian cities, in international music in most large music stores. Fol­ particular the port town ofOran, brought theirmusic lowing are just two examples of the diversity of pop­ with them. Rai became a mainstay of Orah nightlife, ular music heard throughout the Middle East and sung in cabarets and at festive celebrations. Unlike North Africa. other Algerian music forms, rai performances were associated with dancing and usually in a mixed gen­ Umm Kulthum: Queen of Arabian Singers der setting. Although from the 1930s to the early 1960s, rai artists often sang about social issues, in No article aboutmusic in the Arab world wouldbe particular the struggle for independence in Algeria, complete without mentioning Umm Kulthum, or their standard songs were about love and the prob­ "Suma," as she was called by her devoted audience. lems and pleasures of a marginal life. After Algeria She was a legendary and beloved singer whose charis­ gained independencefrom Francein 1962, a period of matic voice, twenty years after her death, is still heard puritanism set in, and rai was confined primarily to onradio stationsfrom the Arab Gulf States to Morocco, private spaces. Constraints were loosened after 1979 and seems to pierce the hearts and souls ofher adoring with a new administration, and rai re-emerged and listeners. Umm Kulthum was born in 1908 in a small gained national popularity as its sotrnds and record­ Egyptian village in the Nile Delta, 100 miles north of ingtechniques weremodernized. When cassette sales Cairo. Her father was a farmer who earned extra of the new "pop" rai took off, more risque lyrics were money by teaching at the local mosque and singing at demanded from thesingers. As the number of Magh­ rural weddings. At the age of five, Umm Kulthum ribis (Arabs from western North Africa) emigrating became interested in singing and began to recite the to France increased, they brought their music with Qur'an. At six she gave her first recital to an audience them and radio recordings of rai songs became a of fifteen at a neighbor's house, disguised as a boy comfort and solace to a people wanting to hold on to since it was not proper then for a girl to perform in their cultural identity in a foreign land. In the mid­ public. Her fame spread throughout the neighboring 1980s, rai in France began to break out of a strictly villages. During a short visit to Cairo she was heard by "ethnic" space gaining fame on the Parisian World an influential sheikh who was so moved by her voice Music scene and helping to fight a growing tide of he was determined to latrnch her on a professional racism. The genre's success in France was one reason career. Her singing engagements increased, as did her for the Algerian government's decision to stop sup­ finances, but she fotrnd herself in a dilemma. Till then pressing rai in 1985. With a now much wider audi­ her repertoire had consisted largely of religious songs ence, producers vigorously cleaned up the bawdy but the public wanted more "modem" songs with love lyrics but a growing Islamic fundamentalist cam­ themes. She eventually concurred and almost over­ paign against rai caused several of its stars to relocate night became a pan-Arab star. When Radio Cairo was to France, where Paris became a major rai center, and begun in 1934, Umm Kulthum was one of the first rai artists began to win an international audience. performers on the air, and that occasion latrnched her However, in Algeria, leaders of militant ftrndamen­ famous all-nightThursday performances whichlasted talist groups condemned rai music and its singers as thirty-eight years and became an institution in the vulgar, decadent and non-Islamic. Several months Arab world. Though her fans are spread across twenty ago a leading rai singer, Cheb Hasni,26, was shot and cotrntries, she is deeply rooted in Egyptian soil. Fol­ killed in Oran. Nicknamed "the prince of Rai," Hasni lowing the 1967 war and the Egyptian defeat, she washighlypopularamongYOtrng Algerians. Khaled, netted more than five million dollars for Egyptian anotherleading Rai singerwhohas lived in France for defense and rehabilitation from herftrnd raising world eight years, said in an interview, "We don't sing tours. Though Umm Kulthum died in 1975, she is still vulgarly. We sing about love." Hesaw Hasni a month remembered by many as the "queen of Arabian sing­ before his death in Paris and urged him not to return ers." continued on page 11

Middle East Resources • 9 December 1994 Vol. 16, No.1

TRC Announcements

Islam: an Introduction to a Civilization

This will be a four week mini-course for teachers that will focus on the history of . Islam, its diverse cultures and practices, Islam in America and current issues in the news. Where: Belmont High School 221 Concord Avenue, Belmont (Hosted by the Greater Boston Council of Social Studies)

When: Tuesdays; March 7, 14, 21 and 28; 3:30-5:30 P.M.

Introducing the Arabic Language and Culture

This will be a four week mini-course for teachers. Participants willieam to write the Arabic alphabet and to recognize some popular phrases. Videos, talks and readings will familiarize the teachers with the diversity of cultures and peoples of the Arab world.

Where: Newton North High School 360 Lowell Avenue, Newtonville

When: Wednesdays; AprilS, 12,26 and May 3; 3:30-5:30 P.M.

There is no cost except for a $5.00 registration fee for each program to reserve a place. The courses may be counted for teacher recertification. Classes will be limited to twenty-five teachers and/or parents.

Voices From the Middle East: An Anthology of Middle Eastern Literature for Secondary Schools (To be published in five thematic units; each will contain story texts and teaching activities.)

Coming in Spring 1995

10 • Middle East Resources Vol. 16, No.1 December 1994

Vocal Music (continued from page 9) to Algeria for fear of being attacked but Hasni had told him, "They don't touch artists".

Information was abridged from a 1994 Associ­ ated Press report and two very good articles on rai in the Middle East Report (March-April 1991 and Sep­ tember-October 1992). Two recommended record­ ings are, Pop Rai and Rachid Style and Rai Rebels Vol 2.

Think about it. ..

1. Discuss ways in which music is used to promote feelings of community among ethnic, racial, reli­ gious and social groups.

2. If music is the "food" for the human soul think about how a "musical diet" can influence human behavior at all stages of life.

3. Research recent newspaper articles for stories on music controversies in America.

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Middle East Resources • 11 New Books for Younger Students

Chrisp, Peter. The Rise ofIslam.Wayland Publishers Ltd., 1991. A very good illustrated history of Islam up to the time of the Ottoman Empire; timeline and glossary. Grades 4-7.

Conway, Lorraine. Ancient Egypt: Treasures, Tombs and Tutankhamen. An Independent Learning Unit. Good Apple Inc. 1987. Reproducible student activity pages on wide variety of topics. Grades 3-6.

Cooper, Jane. Muslim Festivals. Wayland Publishers Ltd., 1989. Attractively illustrated, interesting introductions to Islamic celebrations around the world. Grades 2-5.

EI-Moslirnany, Ann. Zaki's Ramadan Feast. Arnica Publishing House, 1994. Picture book tells a story of a young Muslim boy's attempt to keep the Ramadan fast.

Pofahl, Jane. Ancient Civilizations: Egypt. T.5. Denison, 1993. Cross-curriculum activities and reproducible activity pages make this a useful resource. Grades 3-6.

Shefelrnan, Janice. A Peddler's Dream. Houghton Mifflin, 1992. Interesting, attractive picture book about a Lebanese man who comes to America at the tum of the century to make his fortune. Grades 2-4.

Segal, Sheila F. Joshua's Dream: a Journey to the Land of Israel. UAHC, 1992. A young American visitor learns about Israel's history through family stories in this attractive picture book.

Travellers and Explorers. Iqra Trust, 1992. Nicely illustrated and packed with information about Islamic travellers and explorers during the Middle Ages.

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